From January 1967 to January 1972, Aretha Franklin, one of 20th-century pop music's towering geniuses, stood the pop world on its head with a run, inconceivable today, of 11 albums. Tony Scherman's biography in progress about the Queen of Soul covers those years.
Scorsese's The Irishman is not a masculine power fantasy, nor could its heavy underlying sadness ever be mistaken for delight in violence or criminality.
Fran Lebowitz's ubiquitous little smirk is still going as strong as it ever did because—and this is why she is sexier now than she was 50 years ago—there is really just no way whatsoever to make her feel bad about herself.
While this roustabout story about Herman Mankiewicz's battle to write the Orson Welles classic is clearly impressed with itself, Mank is easily David Fincher's best work since Zodiac.
David Lynch's The Elephant Man, now available from Criterion, is as much a life-affirming parable as it is an exercise in reorienting the boundaries of what we recognize as human--and inhuman.
This recent Tom Petty and the Heartbreakers biography sticks to the objective facts so closely, and the telling is so firmly chronological, that the author tends to miss the forest for the trees.
Ikette Claudia Lennear, rumored to be the inspiration for Mick Jagger's "Brown Sugar", often felt disconnect between her identity as an African American woman and her engagement with rock. Enjoy this excerpt of cultural anthropologist Maureen Mahon's Black Diamond Queens, courtesy of Duke University Press.
Johnny Nash, part rock era crooner, part Motown, and part reggae, was too polite for the more militant wing of the Civil Rights movement, but he also suffered at the hands of a racist music industry that wouldn't market him as a Black heartthrob. Through it all he was himself, as he continuously refused to "remember his place".
Bruce Springsteen's music in film and television captured author Caroline Madden's imagination. She discuses her book, Springsteen as Soundtrack, and other things Springsteen in this interview.